What To Do When Your Gallbladder Hurts

Galician

[Víctor Pablo Pérez. © Fernando Bellas]

Very little news was the Galician composer Gaos Andrés (La Coruña, 1874 - Mar del Plata, 1959) until about twenty years ago a first recording Print your night by the Orchestra of the Stuttgart Radio , which followed in 1994 another Víctor Pablo Pérez and Galicia Symphony, began broadcasting the image of a composer connecting to through music of remarkable refinement, made of lyricism and nostalgia, with a recognizable romantic tradition within the ambit of the twentieth century, which was reminiscent of Mahler, Barber and, going back, Edvard Grieg, one of the composers who Gaos admired.

As usual, there were bands (especially the Galician) to publicize what concerts and new recordings that remarkable poem symphonic, but did not worry too much deeper into the legacy of the musician. This double CD Music Column seal reunites with Víctor Pablo Galicia Symphony comes to alleviating some of this neglect. This includes all (or nearly all) of the symphonic music of a composer who first highlighted as a violinist, which as a student became nothing less than Jesus de Monasterio and Eugène Ysaÿe , and spent most part of his life in Argentina, where he arrived for the first time at just 21 years.

orchestral Gaos The corpus includes two symphonies, the first of which was born in the turn of the century and was later repudiated by the composer (not released until 2005). The work, in three movements, is close to the world of formal rigor of the Schola Cantorum in Paris , where the musician spent a year, and although it is somewhat repetitive, is heard today with some interest. The 2 nd , subtitled In the mountains of Galicia , was composed between 1917 and 1919, and is based on popular songs of his native region, resulting in more concise, fresh and colorful.

From the time he composed his First Symphony 1, data show a movement of the composer never to complete, so it has been recovered as Fantasy for violin and orchestra (in reviewing Joamar Trillo), a work that combines the lyricism characteristic of the author's virtuosity and impeccably played here the concertmaster of the Galician training Massimo Spadano. Granada, the Alhambra twilight is a symphonic poem which was very successful at the time of its release and came to join in a somewhat later (1916) to symphonic alhambrismo of Chapí , Breton or Monastery. In it, together with typical oriental brightness sound, do not miss this lyrical house brand, which overflows into the other symphonic poem that night Printing for strings in 1937 that Mahler sounds so intensely. The album is completed with the old Suite (1901), orchestration of three piano pieces of a cycle to which is added the fourth, which has become the orchestra Gaos Guillochon Andrew, son of the teacher.

[ Diario de Sevilla. 01/29/2011 ]

Gaos ANDREW (1874-1959): INTEGRAL symphony

Galicia Symphony Orchestra Director: Víctor Pablo Pérez


CD 1 1. Symphony No. 1 [edit Joamar Trillo]
2. Symphony No. 2 In the mountains of Galicia


CD 2 1. Granada, the Alhambra twilight [edit Joamar Trillo]
2. Fantasy for Violin and Orchestra Op.34 [Spadano Massimo, violin] [completed and reviewed by Joamar Trillo]
3. Print
night 4. Suite to the old
I. Canone [orchestrated by Andrés Gaos Guillochon]
II.
Sarabande III. Fughetta
IV. Fantasy

---------- 2 CD MUSIC COLUMN ( Diverdi ) [72'50''- 55'26'']
Recording: July 1994 (Symphony No. 2, Print Suite Night and the old) and December 2009


Gaos: Print night . [11'37''] Orquesta Sinfónica de Galicia. Victor Pablo Pérez

Milena Velba Blogpots

A Captain in court

[Ensemble Clematis]

Since the arrival of Carlos I of Spain in 1517, Capilla Flamenca, who had inherited of his father Philip the beautiful as an institution independent of the Capilla Real de Castilla, was always led by a prestigious natural master of Flanders. Last of all was born in Liege in 1575 as Matthieu Rosmarin, but everyone knew him in the English court as Matheo (or Matthew) Romero, or more commonly as a Master Captain, a nickname he earned for his prominence in the musical art . Rosmarin had come to Spain as a child, when the master of the Capilla Flamenca was Philippe Rogier, who spent eight years while serving with soprano. In 1594 he was promoted to the rank of adult member of the Chapel, where he quickly gained fame and prestige among their peers. A death Rogier in 1596, took the Master of Chapel Adrien Capy, but with the ascent to the throne of Philip III in 1598, Romero is chosen to direct the destiny of an institution that would be diluted in subsequent years until they merged into a single Royal Chapel . Although

office also wrote many religious music, widespread in Latin America, Romero is best known for his secular works, many of which have reached us in the Song of Sablonara (for the author of the collection, Claudio de la Sablonara courtier), preserved in Munich where it was Count Wolfgang Wilhelm de Neuburg, de visita en la corte madrileña entre 1624 y 1625, un manuscrito en el que el Capitán es el músico mejor representado (22 de las 75 piezas en él incluidas son suyas).

Las obras de Romero son básicamente polifónicas, a 3 y 4 voces, aunque también hay dúos y la tendencia a destacar la voz principal en algunas piezas apunta al universo monódico que se imponía a principios del siglo XVII en Italia, de donde llegan también los rasgos madrigalísticos, el deseo de pintar con música, de reforzar el sentido del texto mediante recursos sonoros más o menos estereotipados. El Cancionero de la Sablonara y la producción profana de Romero han sido llevados al disco en different times, often marking its links with the Renaissance, as in ancient and great a cappella version of the set The Columbian Accent for the label.

The Argentine Leonardo Garcia Alarcon, the head of Clematis Ensemble and the Cappella Mediterranea, instead the music poured into the Baroque world, providing the instrumental accompaniment flowery songs, replacing some parts instrument voices, what about the accompanied monody, and even offering some fully instrumental versions, which for a disc is not very interesting and compelling. Vision colorful, lush and vital, which also emphasizes relationship with popular music, enhanced by some rhythms that, according to García-Alarcón, still survive today in the Latin American folklore.
[ Diario de Sevilla. 22/01/2011 ]

Mateo ROMERO (C.1575-1647): Romero Flores

Mediterranean Cappella
Mariana Flores, soprano
Capucine Keller, soprano
Fabian Schofrin,
countertenor Fernando Guimarães, tenor

Ensemble Clematis
Stéphanie de Failly, violin Tatiana Babut
Mares, recorders
Rodrigo Calveyra, horn and flute
François Joubert-Caillet, soprano and tenor violas
Margaux Blanchard, bass viol
Lucile Boulanger, viola high
Thomas Dunford, Vincent Flückiger
vihuela, viol
Marie Bournisien, chromatic harp
Thierry Gomar, percussion
Leonardo Garcia Alarcon body

Director: Leonardo Garcia Alarcon

1. Between two gentle streams, romance to 4
2. Romero flowers, a 2 Folia
3. HEART, where were you?,
song 3 4. Enjojadas beautiful [instrumental]
5. In the sweet laughter of alva, Folia to 4
6. Oh, I'm dying of jealousy!, letrilla to 3
7. The Arid Medoro [instrumental]
8. That beautiful village, romance to 4
9. In this inbierno cold 3
song 10. Caíase a hawthorn, romance to 4
11. Fly, my thoughts, 3
song 12. Tired scoop, romance to 4
13. In a pleasant beach, a 3 song
14. Fisher, who gives the sea, 4

RICERCAR ---------- RIC 308 ( Diverdi ) [61'01'']
Recording: July 2010


Romero between two gentle streams. [7'41''] Ensemble Clematis. Cappella Mediterranea. Leonardo Garcia Alarcon

Brent Everett Crush Online

Famous last words

[The Triumph of Death. Peter Brueghel]

fiercely hit by the Four Horsemen of the Apocalypse the Empire were not exactly a paradise in the mid seventeenth century. If the readiness for death was always a crucial issue for the Christian people, now more than a century of humanism and the Lutheran Reformation and in the middle behind the disaster caused by the Thirty Years War, went on to become the main obsession for many, especially for those who could afford time for reflection and money to satisfy their thirst for knowledge and spiritual comfort and artistic. Among them, Count Heinrich Reuss Posthumus, who had engraved on his tomb a sentence of Paul of Tarsus to the Philippians: "Christ is my life, to die is gain "and Heinrich Schütz commissioned a musical piece that would honor his funeral with dignity. the prince could hardly imagine that the musician would correspond to the order with one of the absolute masterpieces of music for all deceased times: Funeral the Musikalische are in effect a triptych in which summarizes the best of musical art of seventeenth-century Germany.

Many recordings that exist of this essential work of musical history West, but this just released by the group Raumklang Amarcord and Sagittarian Dresden Cappella has no way inferior to any, even to recording landmark Philippe Herrweghe in Harmonia Mundi, or, in another tone, those of Gardiner (Archiv) and Christophers (Coro). The vision is of a concentration, nudity and an expressive intensity arriving in awe. Furthermore, the work is contextualized in a program dedicated to beautiful funeral music of Germany at the time. Schütz raw knew the horrors of his time since watched his still young wife Magdalena and their two daughters in his adolescence. In honor of the first wrote a delicate lament ( Mit dem zwar Amphion), for solo voice and continuo, which includes also here in an interpretation of a captivating tenderness due to a tenor who unfortunately is not identified.

The CD will open in any case with an anonymous work written on the penitential psalms Gott, sei mir nach Deiner gnädig Güte was probably composed in Leipzig in the early eighteenth century and which had never been recorded before, surprising, since the work in seventeen sections and designed for four soloists, four ripiene, violin, three violas da gamba , bassoon and continuo, is beautiful. The mixture timbre of the violin and the viola, so characteristic of much German music of the time, the softness of the line melodic, with its Italianate touches, the fervor of the true cause corals fascination. Stephan Otto funeral motets, Rosenmüller Johann, Johann Hermann Schein and Michael Praetorius and Heinrich Scheidemann's organ works complete a CD he played all so formidable, with a balance, delicacy and a sense of devotion and a stunning expressive power. A finding.

VON DEN Letzte DINGE

Amarcord
Latke Wolfram, Martin Lattke, Dietrich Barth, tenor
Frank Ozimek, baritone
Daniel Knauff, Holger Krause, bass

with
Gesine Adler, Sidonie Gudrun Otto, Dorothea Wagner, sopranos
Stephan Gahler tenor

Cappella Sagittarian Dresden
Amra Groza, violin
Renate Panke, Benjamin Dressler, Thomas Grosche, Thomas Fritzsch, Siegfried Panke, viols
Axel Andrae, Dulcie
Petra Burmann, theorbo
Sebastian Knebel, organ
Donatus Bergemann, guitar 16 '
Norbert Schuster, guitar 12'

Director: Norbert Schuster

1. Anonymous (c.1700): Gott, sei mir nach Deiner gnädig Güte , penitential psalms for four vocal soloists, four ripiene vocal, violin, three violas da gamba, bassoon and continuo
2. Stephan Otto (1603-1656): Der Mensch von Weib geboren, motet for six voices and continuo of Kronenkrönlein (1648)
3. Rosenmüller Johann (c.1619-1684): Welt ade och bin dein müde , funeral piece for five voices and basso continuo for the funeral of Johanna Magdalena, daughter of Archdeacon L. Abraham Teller (Leipzig, March 2, 1649)
4. Heinrich Schütz (1585-1672): Mit dem zwar Amphion SWV 501, sorry for solo voice and continuo, in the death of his young wife Magdalena, born Wildeck (1625)
5. Johann Hermann Schein (1586-1630): Threnus , funeral motet for six voices and continuo, in the death of the Duchess Maria Dorothea von Sachsen in July 1617

Heinrich Schütz: Musikalische Funeral , Heirnich in the death of Reuss Posthumus (1635)
6. Part I: Concert in Form einer Begräbnis-Missa Teutsch SWV 279, for six voices and continuo
7. Part II: Herr, wenn ich nur dich habe SWV 280, Motet for two choirs of four voices and continuo

8. Schiedemann Heinrich (c.1596-1663): Herzlich lieb hab ich dich, or Herr , arrangement for organ coral
9. Michael Praetorius (c.1571-1621): Mit Fried 'und Freud' ich fahr dahin , movement cantata for four voices of Musae Sioniae , Part VIII (Wolfenbüttel, 1610)
10. Heinrich Schütz: Musikalische
Funeral Part III: Canticum B. Simeonis SWV 281, Motet for two choirs and continuo
----------
Raumklang (Apollon Edition) RKap 30,107 ( Diverdi ) [72'34'']
Recording: November 2006 January 2008


Schütz: Mit dem zwar Amphion. [9'06''] Amarcord. Dresden Cappella
Sagittariana

Mario Salieri Films Online

The largest living Bach

[Crucifixion (detail). Matthias Grünewald]

The binomial Philippe Herreweghe, Bach has given fans the Baroque some stunning recordings of the last 25 years. Under the guise of 40 anniversary of the founding of the Collegium Vocale of Ghent , Harmonia Mundi, the label that has collected the vast majority of these productions, has begun publication of an edition that collects the most of this material, absolutely crucial for understanding the development of Bach interpretation in our time. Triple album is superbly edited book / CD format, sold and average price of which four have been put on sale. The journey of these four papers is chronologically comprehensive, because it reflects one of the oldest records of the Belgian master Bach (that of the Motets of 1985) along with others conducted in the first two years of this century.

The volume includes the motets (HML 5908366.68 reference) is also devoted to the second recording made of the Herreweghe Mass in B minor (1996: the first, taken in 1988, was published by Virgin ). There is in this second version, the recording is not all clear that it would be desirable, a point of excitement and brightness in the Virgin, excellent in its depth and rigor, very representative of the first style of approach to Bach's director Ghent, very concerned about the transparency and clarity, but also to preserve a point of monumentality that led to the use of slow tempi and thickeners point line. Gradually, the joints would become more Herreweghe nimble, tempi lighter, lighter lines. But the Mass , 1996 still has, despite the increased intensity of dynamic contrasts and a more poignant instrumental timbres, the ecstatic sense of the majestic and ancient, with a great balance between filling and light coral and a noticeable emphasis on Details of rhetoric. The description can be applied to Motets, which are more austere, but with an intensity and emotional expression of deep and passionate as well.

The album includes the HML 5908372.74 cantatas sung by bass Peter Kooy (1991), the high with Andreas Scholl as soloist (1997) and the only non-Bach CD collection, a work dedicated to cantatas by German composers prior to Bach (Thunder, Kuhnau, Bruhns, Graupner) was recorded in 1999. Here we see clearly the passage of a performance style that favors a more enveloping sound, meaty and meditative to a more loose, flexible and lightweight. The very emotional Ich habe Genung is a milestone in the version of Peter Kooy for its exquisite balance between rhetoric and musicality. The work of an aristocratic Andreas Scholl is a cold spot in the play of tensions, densities and balances like to Herreweghe, but that gives her album a very special interest by the contrast between a more dark and deep and the other more focused on the pure beauty of sound. In the cantatas CD prebachianas Italianate looks luminosity of the works of Thunder and a clear will to speed up lines and lighten the texture, which affects both the choral parts and the instrumental accompaniment.

But where this stylistic paradigm shift is best seen in the comparison between the two versions of the Magnificat published in the album with HML 5908360.62 reference, the version in D major in 1990 and recorded written in E flat major in 2002. The first is completed with the cantata BWV 80 and the second with BWV 63. The third disc of the album includes the cantatas BWV 8, 125 and 138, which were registered in 1998. The exuberant nature of the Magnificat had already been well caught in the recording of 1990, but in the year 2002 tempi are faster, the choir has eased (although slightly, from 21 to 17 voices) the instrumental brilliance resonates with more power and sharpness and contrast are more blunt. Options are somewhat different, perhaps a more chaotic the second point, although the Christmas interpolations impose some grim tenderness and perfectly complementary. Extraordinary, almost unbeatable, the soloists of 1990 (Mellon, Lesne, Crook, Kooy), especially the formidable American tenor (the duet with Lesne is high voltage), although in 2002, the record also has a superb Sampson (crystalline and lovely "Quia respexit"), while still significant, the rest of the cast (Danz, Padmore, Noack) is somewhat below twelve years ago. More than additions, BWV 80 and BWV 63 are capital pieces of art that reveal the Bach Herreweghe careful with details (the accompaniment of soprano and bass duo of BWV 63 with a glorious Ponseele Marcel oboe is a supreme delicacy) but capable of showing both the most joyous of the great choruses accompanied by trumpets and timpani.

has sometimes insisted on austerity herreweghiana general (more palpable in their earliest recordings) as a point against his work, but I find it a special connection to the spirit of Bach, for sobriety Belgian style always looks great master of counterpoint clarity, balance and combination of parts (such unison between first violins and sopranos of the choir), all illuminated by an exquisite care for detail timbre (very noticeable on the involvement required instruments and subtlety of the continuum that follows) and rhetoric who focused on both the most superficial and most Bach music deep. This is very significant both in the complete cantatas disc album of the Magnificat as in the reference appeared HML 5908369.71 gathering of Advent and Christmas cantatas (BWV 122, 110 and 57, 1995, BWV 36, 61 and 62, 1996, BWV 91, 121 and 133 of 2001). It not worthwhile to influence, by known, at the excellent work of the Collegium Vocale of Ghent and insisting on the special fellowship that the concept of Herreweghe achieves with this music so full of nuances that could almost be described number by number. There are of course other far-reaching decisions about the recorded music of Cantor (Gardiner Koopman through Suzuki or Kuijken) but in the opinion of the undersigned Philippe Herreweghe can without exaggeration be considered the most important figure of Bach interpretation of our time.
[ Scherzo No. 259. January 2011 ]

Eurythmics Sweet Dreams Piano Tabs

casings Orphic

[Philippe Herreweghe. © Riitta Ince]

Mahler We left a year (the 150 anniversary of his birth) and enter another (the centenary of his death.) "My time will come" once said austrobohemio composer when he was much better known and admired as a conductor than as the author of a music that in its claim all-inclusive ("The symphony should contain the world") escaped both the classic and the universe subjective and sentimental Romanticism to the Europe of the late nineteenth century art was largely anchored. Perhaps that sentence should start to be fulfilled after the Second World War but is now crossed the threshold of another century, when it occurs more overwhelming. If your work dedicated to the composer's Scherzo and Antonio Machado Foundation Books published in 2007, José Luis Pérez de Arteaga news was more than two thousand recordings with music by Mahler, four years after the account should be increased by tens (or hundreds) of records .

Mahler's time, that "obsessional neurotic " (the diagnosis is Theodor Reik) that widened the possibilities of the symphony to hold it perhaps not the world, but multiple realities that had been provided back . If Haydn was able to gather in his symphonies, musical traditions from all over Europe, it mimicked Mahler, but raise the bar, putting together the most vulgar and the sublime, the popular and high culture, and the military march waltz, line and dissonance, the street and the court, the cabaret and the temple, all at once, simultaneously, and reinventing the ways he did, but without abandoning the whole, not in vain most of his symphonies open with movements in a sonata form more or less orthodox strain several topics are presented, developed and recapitulated.

The 4 th Symphony , released in 1901 and last episode of his known as period Wunderhorn (by their relationship to the world of folk songs Des Knaben Wunderhorn , The Boy magic horn) is one of the most classical in form, but closes with a lied. It is perhaps why Philippe Herreweghe has decided to open the catalog of his own label (Phi) with his first recording of a Mahler symphony (exclude registration of Send Earth, which was in the chamber version Schoenberg). At the helm of the Orchestre des Champs-Elysées, the great Belgian director has used of course the instruments of the period of the composer, much different from those of today than often thought, with guts in the string, and applied a style, as opposed to filling homogenizer, enhances clarity balance and detail. This course is subsumed in the finding of a great line backbone, leading to the lyrical and evanescent Himmlische Das Leben ( heavenly life) that soprano Rosemary Joshua sings "serene expression and child" as requested by Mahler.
[ Diario de Sevilla. 15/01/2010 ]

GUSTAV MAHLER (1860-1911) : Symphony No. 4 in G major

Rosemary Joshua, soprano
Orchestre des Champs-Elysées
Director: Philippe Herreweghe
- PHI
-------- LPH001 ( Diverdi ) [53'28'']
Recording: March 2010


Mahler: Sehr behaglich, 4th movement Symphony No. 4 . [8'41''] Rosemary Joshua. Orchestre des Champs Elysées. Philippe Herreweghe